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So I have been pretty much exclusively listening to the following few artists:
Autechre, BoC, Plaid, Bonobo, Squarepusher and Clark
I'm looking for something more in the vein of Ae/Clark style music.
I'm NOT looking for anything with vocals, and I much prefer synth over real recorded instruments. Any good suggestions? Thx all

Was listening to this at work today and thought "Fuck me this is brilliant", there isn't a weak track on this release. Pencha is amazing especially.
Also, the case says 'Mechanically Reclaimed by Autechre', I'm curious, does this mean the tracks are remixes of earlier stuff? Specifically Tilapia which has that Cichli sounding synth.
Also, talk about how wicked this EP is.

I think this is my favorite Autechre album.
It's a strange feeling, because this was the first AE record I heard. I was like 10 years old and I listened to "Dael" after downloading it and "Clipper" on Napster. I didn't like it at the time [i would have preferred to listen to the Power Pill remix over and over. and the Mortal Kombat theme].
A few years later, as a teen, I discovered Confield. And I think that was when I REALLY started to obsess over this group. All along I would return to Tri Repetae, but I found it lacking and dull in comparison with most of their other work. I mean, I liked it - I liked ALL Autechre to some degree. But it wasn't as fun to listen to for me as some of their other albums.
Recently though... something clicked. I've discovered the atmosphere on this album - it's unparalleled in all of their work. The depth inside of the music is somehow further...deeper. While the technical elements of the sound are not as interesting perhaps as they will get later on... the feeling is like a gigantic trench. When you're listening to "Stud," your mind just goes deeper into a feeling of nothingness.
I think Amber is very similar in approach, but somehow they went 'all the way' with Tri Repetae. To infinity and beyond.
The dissociative effect of the music is wonderful.

So my brother isn't into electronic music at all. He listens to Pearl Jam, and Hendrix and such. So I was listening to LCC the other day, and my brother walks in my room with a bright look on his face and says "I didn't know you played counter-strike! .... oh."
Anyone got any funny stories?

Artist : EXM Title: Modulus
Label: Touched Music
Cat no: TM36 Format: CD/Digital
Country: U.K. Artwork:
Style: IDM/Electronica
Release Date 21.July.17
Well well well, if it isn’t exm again. This prolific artist has a multitude of self-released EPs under his belt and returns once more for his fourth contribution to Touched with music of fantastic quality.
Each track piques your interest, every sound feels like it has a purpose and my are their lots of sounds. This release isn’t just generous in terms of style but at a shade under 90 minutes I don’t think anyone could complain that they weren’t being looked after.
The opening of ’Modulus’ is sinister. ’3i2’ puts you on edge and alerts you to the presence of the next nines track lined up, a piece that wouldn’t sound out of place in the most epic of science fiction. Even the first sound’s pacing is so perfect I could loop it and be satisfied.
But I don’t need to. Waiting for me is a barrage of noise all seemingly in its place and well thought out by the composer. Some of it is illusory - ’Wall’ has a pace that appears to increase whilst not actually doing so. If I didn’t have an anchor to the real world in the form of tapping feet I might certainly be lost.
As a midpoint, ’5’ is a masterpiece - it’s an earworm. Its melody cohesive, at 9 minutes in length it still doesn’t feel long enough. And it’s a turning point too, the second half of ‘Modulus’ feels takes a robotic tone, like you’re stuck in an automated factory but you don’t really care about getting out, satisfied with the rhythmic beat of machines you are faced with.
This is as good as any electronic music I’ve heard. It shows there are those out there who really care about their art, who want to push boundaries and challenge those who listen to it. I had previously compared exm to other great masters Autechre and their influence still shows however it feels more distant now. A place has been found by exm, he's carving out his niche and it's incredibly enjoyable.
‘Modulus’ is available as a limited run of CDs and as always a digital download (with bonus track ‘Meltt’) which is also provided to those who make a physical purchase from the Touched Bandcamp site. So show your support once more for Touched and get something great in return. Buy - https://touched.bandcamp.com/album/modulus

my guess is that because of the autechre collabs there have to be some fans/followers here. a few years ago i decided to make a commitment to really understand the essence this group (well, andrew mckenzie) and i have to say that for the most part ive been unsuccessful. best i can figure is that the works are intended to directly affect the listener in more than just an emotional/intellectual way. its like hes aiming for some kind of serious alteration of consciousness that can only be achieved if you fully engage with the work. that is, put as much work into experiencing the album as the creator did in making it. thats a tall order but also interesting in that it presents a serious challenge to the listener. back before mckenzie deleted his email list i used to ask questions about how to best approch his work, and he would more or less always use various metaphors that said the same thing. like "its like getting your house in order for guests that will arrive at an unspecified time" or something similar. im still not quite sure what that means. heres and example of his oblique way of uh.. im not sure - a description (for lack of a better word) of the "kill the king" reissue -
i remember reading autechre say that the hafler trios work "has a rare humor" and i completely agree. the man has an extremely odd sense of humor and its certainly present in that blurb above.
an interview with mckenzie-
http://www.youtube.com/watch?v=BJWaLucb664
also, i think this guy deserves some kind of award for graphic design. quite beautiful -

I believe there is already a topic dedicated to graphics: now I haven't found it, so I write this: eventually deleted and incorporated it into the already existing one.
Among other things, In this interview Ian Anderson talks about his relationship with S&R and the philosophical stimulus specifically related to ae, and the love for oversteps:
https://warp.net/editorial/reasonable-person-an-interview-with-ian-anderson?fbclid=IwAR1sKpJx1eULMucWR_HwklBLSi0yCtnMei2-iRFuYoX9fUfd6hYMnxY0QvQ

Scene 1:
we start out in some kind of next-dimensional waiting room with a jumble of objects existing in a state of flux. It’s kind of a paradoxical thing, like chaotic equilibrium. there are platonic solids bouncing into globs on non-newtonian fluids, arcs of plasma jetting about, old People magazines, etc. it is here that the the first ones, the ineffable, antediluvian Great Dyad of rob and sean call their home, their unspoken machinations manifesting as great ripples and rumbles through the medium, lush pads and sick beats, the 2 elements from which all other things spring forth. the aloof, stoned gaze of rob and the piercing chav stare of sean settle on a single planet orbiting rogue paralel suns, somewhere in the intergalactic medium. this is planet known as Planet Gonk.
Scene 2:
on exoplanet gonk 3a5 129308 there is a club 500 kilometers under the sea.
we descend through the hazy atmosphere and the greenish world-ocean is revealed, we descend further, under the waves, to Club Splesh.
shit is poppin off here.
Mature Audiences Only.
Agent Cooper is on the scene
“Diane, I’ve just arrived at an establishment of ill-repute—
there is a robot with a big like jangly metal dick on stage just getting slapped all over the place.
like some giant mech with a big fuckin weird silicon robot dick just floppin it around.
like slapping it in a concrete hall, like some crazy flep the dolphin shit happening in the club.
in the underwater club.”
the scene is mental. Wiley is DJing, Flowdan is MCing. just absolute mayhem
people are doing poppers and touching jellyfishes and stuff.
a squid makes out with a Dyson space heater.
Flep the dolphin does tricks (like flips and shit but also sexual?) for the robot man.
a calculator finishes suckin him off.
the robot man cums.
BLISS
Scene 3:
okay so now we're listening to the soundtrack to "GANG FIGHT 2999", setting: ‘Techre City
it’s like a gigantic icosahedron of a city, all floating above the ocean and shit
all black pipes and dirty streets branching out everywhere like fucking crazy
the Casual's are encroaching on the Gonk Boy's turf
Gonk Boys pullin up
using pirated cyberweapons
the casuals outnumber gonks, but the gonks are bigger
The Gonks have protective fur coats with +2 charm boost
the Casuals employ fierce hi frequency sonic weapon emitters
the Gonk Boys have powerful backpack woofer blasters
the Casuals, in their numbers and ferocity are overwhelming the Gonks
but the Gonks won't go down without a fight
so the gang war has been raging on
OH shit! RIP gonks, you think.
but the Gonk Boys are still hanging in actually
you thought they died
but in one insane sub bass attack they fuckin WIPED out the casuals
they unleashed their secret weapon:
GATED REVERB GUN
cut: we are now 33 years in the future
The Gonks and the Casuals unified into one cartel and took over 'Techre city
not long ago this planet was ruled by dolphins and mechs
Now there is a filthy cabal of genocidal gangsters in control of the polyhedron
watch them float over the global ocean, sending down plasma arcs to terrorize the unsuspecting denizens
Unleashing vaporized high potency psychedelics and dissociative drugs into the atmosphere
the populace is at their will
Chairman Elyc9 is a miser. He rose through machiavellian tactics.
He now punishes the world that spurned him as a child
Uniting the violent underground through mutually beneficial heists and takedowns he quickly was able move up in 'Techre's parliament
Spread the message: the dolphins and mechs are not our friends
We must cleanse the global ocean of their idiocy
Scene 4:
Deep down in the ocean
Corporal Flep is dreaming up a strategy
The resistance has been hit hard
But Flep wishes for the days of dancing and having casual sex with robots on the ocean floor to return
In an old half dome ruin on the ocean floor, covered in coral and kelp, the bladelores project is being conceived
the dolphins on one side, the mechs on the other.
they are sharing ideas through bubble ring glyphs
how can they restore peace to this shattered world?
schematics made of seaweed and stabilized bubbles are created
to unify their thoughts they move to the inner sanctum
and begin a ritual of blowing bubbles and subtly sending electrical currents through the water
slowly an old god
starts to rise from the sand at the oceans floor
it is a god made of shimmering, rippling mercury
at times random pillars seem to form as appendages and then collapse back into the rising columnal giant
the monks of the eastre order hit their bells
the dolphins and mechs vibrate in ecstasy as the VeKos, the avatar of eastre, arises.
…
Scene 5:
in the laboratory of Turbile Robotics manufacturing ramps up with new speed
Everything must be stress tested
no piece of squishyware can go un poked
every bioluminescent tendril must writhe
all cubes must be stomped upon
that's what makes a Turbile a Turbile™
The workers dine on shimripls (a type of very gay shrimp)
Turbile robotics employees can expect a minimum of 17 shimripls a day
they are paid in shimripls, which is a privilege in a world where if you don't gonk hard enough you'll basically just get killed
Oh lord what is this? someone just introduced a trojan into Turbile manufacturing's mainframe
the technician inspects the terminal
"Spl9.ramshooter.b" ?
machinery is being repurposed
something is being built
the plant is creating strange, incomprehensible objects
it used to make cubes
now the virus has taken control and the organic synthesis machines are making unsound hybrids of silicon and flesh
and all of these creations fall down into the the unfathomably deep cistern of rejects, the glos ceramic
a cylindrical hole bored deep into the planet, so large it has developed its own ecosystem in the darkness and filth
the heaps of AI chips form autonomously organizing beings made of trash and rotting flesh and wires
these new beings know nothing other than that the great shute in the sky gives them garbage, their lifeblood
so they raise up their appendages in praise
revel in the garbage, make love in the garbage, do their taxes in the garbage
Scene 6:
back in 'techre city Bill Evans plays the piano
at a slimey gonk establishment
Thom Yorke gets on stage
by now he has become a kind of hairy skeleton
he makes high pitched wails into a canister, on all fours
he has learned the art of bone origami
and he is folding himself up into an ever smaller thing
eventually he is so small he is not visible, which is part of the art of it, you see
yet he still is able to wail
Bill Evans dies of many years of cocaine use
Scene 7:
The aftermath of a mass culling of technicians suspected as double agents for the Dolphin-Mech Alliance
Chairman Elyc6 has dealt with the turbile problem, or at least he thinks he did
so we looked at the data
The truth is, Chairman Elyc9 doesn't really care about purging the planet of dolphins and mechs.
the war was a ruse
he baited the enemy into summoning eastre,
the primeval power at the center of the planet, he wishes to harness its powere
planet gonk was once at peace
long ago, the dolphins were sucking robot penis and all was well
but desperate times call for desperate measures
the garbage hybrids congeal into a chain tall enough to reach the ceiling of the great cystern
as the liquid god of eastre penetrates the corroded, leaking bottom of the cystern
an unholy union is formed
The Gonk Casuals must be stopped.
Scene 8:
we now shift deep under the garbage, into the dark saline sea that lines the deepest trenches under the global ocean
this is the primordial soup from whence it all came
in a place darker than vantablack, conscious ions flicker with intent
before the gonks, before the dolphins, before the casuals and mechs, there was only this place
a place of stillness punctuated by rippling chains of actions that had no beginning and no end
the creatures of planet gonk arose from this place
and it is this place that will bring the planet back to equilibrium
Scene 9:
the Great Dyad regards the goings on with detached amusement.
Sean: M8 this shit is mental. Did you see Thom Yorke do that? fuck me that’s brilliant.
Rob: Check out that Dolphin down there, he’s got a laser gun.
Sean: (tokes spliff) fookin incredible aye
Rob: aye there’s like some kinda war or battle going on innit
Sean: lush, hey check out this new patch i’ve been working on
...
in a twist of events, the Dolphin-Mechs lose control of the Avatar of Eastre, VeKos, and it takes control of the garbageFleshKin, unifying them into a writhing tentacle of wires and organs emerging from the core of Planet Gonk to strike ‘Techre city from the sky. the icosahedron shatters into a trillion shimmering shards and the city falls into the churning world-ocean.
the casualties of the great conflict are immense
calculators go instinct. Corporal Flep is valiantly killed in the line of duty when he impales Chairman Elyc6 with his snout (he duct-taped a knife to it). RIP.
the Gonk Boys and the Casuals are forgotten. the ocean swallows up all things. there is only wreckage, and the mindless, waving tentacles of eastre protruding from the sea like living monoliths. Who knows what lies in the future for this ruined planet? but for now, all end.
And thus concludes the story of Planet Gonk…
OR DOES IT?

Ahem, with all the raving here that it's the greatest thing since sliced bread, I say to myself, "damn, maybe I need to give this yet another try." And after yet another listen, I always come to the same conclusion that, while it has it's moments, Confield is simply a difficult, moody, and just plain cranky Autechre album to me. And yet I imagine that it's for these very reasons that fans of it get so hot and bothered. It's not bad, but there are just so many other Autechre/Gescom releases that deliver for me that I can't be bothered to go through the mental calisthenics of listening to this.
Bring the counterpoints, as if I need to ask for any! I do find it interesting that there's not a whole lot of middle ground for opinions on this album - either you love it or you don't.

Not sure if this track has ever been posted or discussed, so apologies for that.
I stumbled upon this after I stumbled upon these noise anthology compilations (which are very interestings, czech them out)
http://www.youtube.com/watch?v=-EEn1h9k87Y
Now I'm wondering how many awesome versions of tracks they have that didn't make it on albums.

http://That Other Site™.com/mb/100194/new-autechre...ce-out-on-33-08
This was on That Other Site™. I hope it's true. Good thing I checked it today.
lol, I spelled it wrong according to Phobiazero lol
I meant to type Quaristice, if a mod reads this, can you edit please?

This is consistantly in my top 3 albums autechre has produced. Silverside, Slip, Piezo, Further, and Teartear are absolute classics and they never get old for me. The first 3 and last 3 tracks are damn perfect in succession. Anyone else feel this way?

T ess xi starts off with a chord progression, 16 bars long, shown in the attached image.
In bar 1 we have four notes (music harmony people: Eb major seventh chord). For our purpose here, think of those four notes as two intervals played simultaneously, the lower interval (coloured dark grey), and the upper (light grey) interval.
From this initial position in bar 1, the movement of those intervals for bars [1..8] is as follows:
move the upper interval down 1 row
move the lower interval down 1 row
move the lower interval down 1 row
move the upper interval down 1 row
Going from bar 8 to bar 9, the intervals change: their low notes are shifted up two rows (so whereas the intervals were perfect fifths in bars [1..8], they've now become perfect fourths for bars [9..16]). Following that, for bars [9..16] the "intervallic movement" stays the same as in bars [1..8], so again:
move the upper interval down 1 row
move the lower interval down 1 row
move the lower interval down 1 row [!]
move the upper interval down 1 row
Notice what happens in bar 15 (indicated with [!]): as the lower interval is moved down 1 row, two notes now overlap (in F#) and are fused together.
This progression is heard twice (so bars [17..32] are identical to [1..16]). After that, the entire process is repeated but lowered by a semitone etc.